Five Thoughts About “As You Like It”

Jones played guitar several times throughout the show. (Camila Pardo)

1. Use of Music

Although existing within the concept of a traditional fall play, director Taous Kahzem rightfully intertwined musical performances of the cast, furthering the strong sense of the 70s. The guitar musings of Charlee Jones '26 during depictions of bonfire circles between cast added to the decade’s iconic emphasis of a freed spirit. I found the homage to the original intentions of Shakespeare himself to be the best way to bend tradition.

Alan Hodder ’25’s character Orlando defeated Zach Gartner ’25’s character Charles in a wrestling match that emphasized their unique costumes. (Camila Pardo)

2. Costuming

The persona of each character was displayed seamlessly in various aspects of the play, the most eye-catching of which was costuming. From bold, chunky necklaces to electric, bright wrestling capes, both the groove of the flower child’s decade and antique iambic comedic effect were portrayed stunningly. In the final scene, the adornment of cast in flowered crowns felt as if the peacemaking generation enclosed the end of the elaborate play and further elevated the fauna riddled path each character experienced. While a small detail, this wrapped the end wedding scene, full of merriment and love between friends and lovers, very nicely.

Hannah Barisonzi ’26’s character Touchstone embodied the spirit of the 70s throughout the show.

3. Modern Elements

This depiction of a Shakespeare classic incorporated modern-day twists to engage the audience, even including Beatles music during transitions. Existing within the parameters of the ‘70s, this production of “As You Like It” brought familiarity through modernity, enhancing audience understanding of an antiquated script. The task to present an Elizabethan play to a largely high school crowd is mighty—majorly evidenced by semi-successful attempts to appeal to viewers. Shortened timing and a nostalgic decade immensely increased my own viewing experience; however, I question the continued attempt at showcasing Shakespeare to a younger audience. While charming, I found the 2023 spring musical “Twelfth Night” to be my Elizabethan adaptation of choice.

Bohrnsen’s physicality was one of the highlights of the show. (Camila Pardo)

4. Physicality

Performances from all actors and actresses were able to capture the essence of Shakespeare’s play, exactly encapsulating the desperation of love despite the hurdle of a complex and difficult script. Saléya Scott '25 flawlessly portrayed the comedic depiction of Duke Senior’s runaway daughter disguised as a forest dwelling man, wherein Alaena Bohrnsen '25 perfectly executed the ridiculous trope of love at first sight with her extreme physical overexaggerations of a woman desperately in love.

The set, designed by Erica Zaffrano, changed throughout the show with the help of the cast. (Camila Pardo)

5. Set Movement

As always, the Upper School Theatre’s set design never fails to enhance the momentum of the show by inventing and utilizing unique set pieces. Despite slight shortages of crew, Khazem smartly employed the mobility of the cast to move set pieces. Doing so, the movement of the set furthered the development of Rosalind’s journey throughout the Forest of Arden. From an audience perspective, the visible use of pre-established cast additionally aided in the comprehension of plot progression.

The Spectrum

The Spectrum

The Spectrum

The Spectrum